Friday, November 15, 2013

Christ Child with an Apple. Willow with original pain and traces of gilding. Michel Erhart, Germany, c.1475.

Four long years ago--my, how time does fly--I paid a fateful visit to The Cloisters, one of NYC's best-kept secret and a haven for rare and often creepy-as-hell medieval European art. If you don't believe me, you can read about it right here. Anyway, ever since then I've been haunted by the beautiful and disturbing things I saw on that day, and so it was only a matter of time before I returned.

Thanks to a collection of free passes acquired by my daughter Zombelina, I was encouraged all the more to make the return trip to the northernmost tip of the island of Manhattan a couple of months ago to once again immerse ourselves in the twisted imaginings of the pre-Renaissance Western world, when the oppressive yoke of religion forced its will upon everything, and turned men's minds to thoughts of a most bizarre nature.

That's not to say that there isn't a lot of pleasantness here, as well; although I chose to pictorialize only the most frightening imagery for the purposes of this rather single-minded blog, I would encourage a visit to The Cloisters for many other reasons, including the peaceful herb garden (don't eat the hemlock) and the magnificent views of the might Hudson River.

Sadly, we were ousted abruptly due to an earlier-than-expected closing time, and so I'm proud to say we returned once again a mere few weeks later. Two visits to The Cloisters in one summer! It gets no better. Well, enough of the wistful musing! On to the gloom and doom...

From Panels with the Crucifixion and the Lamentation. Tempera on wood with tooled gold ground. Master of the Codex of St. George, Italy, 14th century.

House Altarpiece. Oil and gold on wood; metal fixtures. Germany, c.1490. That's St. Anne, holding both her inexplicably diminutive daughter Mary and her grandson Jesus.

The Lamentation (detail). Walnut with paint and gilding. Spain, c.1480. Originally found in a Benedictine monastery, the intense emotion was meant to urge the faithful to imagine themselves present at the death of Christ.

Altarpiece with Scenes from the Life of Saint Andrew (detail). Tempera on gold and wood. The Master of Roussillon, Catalan, c.1425.

Altar Frontal with the Man of Sorrows (detail). Wool, linen and metal thread. Germany, c.1465. "Man of Sorrows" was a common medieval euphemism for J.C. himself. Note the amount of blood, consistent with passion plays of the Middle Ages.

Wooden sculpture of a lamenting woman, presumably Mary. Sadly, I did not get the details on this one.

Friday, November 1, 2013

"My mother was a housewife, but she was also an artist. My father was an electrical engineer."

--James Cameron

Much has been made of the sexual imagery of Ridley Scott's Alien. Stylistically based as it is on the work of H.R. Giger, it would be difficult for it not to be--after all, Mr. Giger has traditionally been fixated on all things genital-related. I won't even get into what those alien heads really look like. No doubt about it, sexual and birth-related imagery abound in the film.

But when it comes to Aliens, James Cameron's 1986 actionized sequel, that symbolism has been taken to its next logical stage (biologically speaking, anyway): Parenthood. In particular, motherhood. Aliens is preoccupied with maternalism, and I would go so far as to say that it is far and away the central theme of the movie.

To be sure, motherhood plays a certain role in Scott's film, as well. After all, the Nostromo's central computer is called "MOTHER"--it doesn't get any more blatant than that. And the manner in which the main characters rebel and rail against their cold, unfeeling, even treacherous "Mother" throughout the film has "mommy issues" written all over it. This culminates, of course, in Ripley's desperate attempts to escape before Mother destroys the ship, as she refers to the disembodied ship's voice as "You bitch!"

However, it's in the second film that this theme, merely touched on in the first, comes to full fruition. And it all centers on Ripley, last survivor of the Nostromo. In the first film, Ripley is a decidedly asexual character. In fact, she isn't even feminized with the first name Ellen until the sequel. The fact that the character was originally written to be a man, and that not a single word of the script was changed following the decision to cast a woman, speaks volumes. In short, Ripley's womanhood is irrelevant to the plot. She is a protagonist who just happens to be a woman--albeit a very strong and resourceful one who's more fit for command than any of the men on the ship. But that part could've been played--as it was originally intended--by a man, and no one would've batted an eye.

"A-ffirmative."

When we get to the second film, though, Ripley's womanhood comes front and center. The Ripley of Aliens could not have been played by a man. Being a woman is essential to the character. In that film, James Cameron did something remarkable--he created cinema's first truly viable mainstream female action hero. (Considering Linda Hamilton in Terminator 2, the female action hero seems to be something of a preoccupation for the director.) Not only is being a woman essential to Ripley's character, but being a mother in particular.

Cameron's genius here is in giving us a character who is not a strong protagonist despite her femininity--as in Scott's film--but rather because of her femininity. Cameron grafts all the tropes of the action movie hero--particularly the 1980s action movie hero--onto the image of the woman in her most traditional social role, that of the mother. And it works--because Cameron knows something most of us instinctively know, that mothers, as positively characterized, can be among the most determined, strong-willed, and powerful forces in all of fiction (as well as real life). Driven to protect their young, as well shaping who they grow up to become, the limits of their heroism are nearly boundless, and it could only be in a heavily paternalized culture as our own that this role would ever be demoted into something lesser than.

Cameron knows better, and succeeds in making a character simultaneously maternal and decidedly kick-ass in a stereotypically "masculine" sort of way. In the era of Predator and Rambo, Ripley stands out as a subversion of that macho ideal. Cameron has the vision to take the trope to places other filmmakers were too close-minded to go--or perhaps where they feared their audiences wouldn't follow.

If you've only seen the theatrical version, you're missing a big piece of the puzzle. In one of the worst examples of a movie being somewhat hamstrung in the editing process and much better served by the director's cut, there is a scene--included in the latter but missing from the former--in which we learn that Ripley was a mother. Tragically, because she was trapped in hypersleep for nearly 60 years, she has missed out on her daughter's entire adult life, and learned that she lived to a ripe old age and died just a couple of years before Ripley was recovered in deep space. It's a shocking moment for her and for us, and informs the character so greatly for the rest of the film. It's mind-boggling to me why it would've been removed, thus removing an important part of the movie's impact.

Knowing that Ripley was a mother who lost her child changes the way we look at Ripley's relationship with Newt, the little girl who is the only survivor of the ill-advised colony on planet LV-426. It is that loss which colors the rest of the movie, and their interaction in particular. Ripley has suffered the greatest trauma an adult can suffer--the loss of a child--and she'll be damned if she's about to let it happen again. For her, Newt represents not just a surrogate for her own biological daughter, but a second chance to indirectly "make up" for what happened the first time. Ripley was powerless to change anything about what happened to her own child, but she has the power to make a difference in this little girl's life, to substitute for her lost parents, and protect her from harm in a way she couldn't do for her daughter.

The growing bond between Ripley and Newt is quite touching to watch, as she begins to care for the child, gradually filling the parental role in a very real and emotionally invested way. It represents the heart of a film that is often consumed with macho, militaristic sci-fi. Or is it? Perhaps one of Cameron's greatest tricks is to subvert this macho ideal. All is not what it seems here. Rather, the Space Marines are portrayed more or less as ineffectual cartoon caricatures (with the exception of Hicks as well as Vasquez--the toughest soldier in the squadron who is, quite tellingly, a woman). Also, they are unable to stop the alien threat and properly protect the civilians Ripley and Newt. It falls to Ripley, in the role of "warrior-mother", to stand up and do the job herself. And she does it better than her militarized compatriots, unencumbered as she is by testosterone-driven hubris. Rather, she channels her maternal instincts and becomes the most formidable of them all.

In the process, she becomes cinema's first bona fide feminine action hero. She's not a woman posing in a traditionally "masculine" way, as a character who could either be a male or female, but just so happens to be a woman. Rather, her womanhood is tied directly into her action role. This is not to say that womanhood is only defined by motherhood; but rather, it is to say that, as written, the Ripley of Aliens must be a woman.

Make room for Mommy!

For the film's final conflict, Ripley is forced to do battle with another mother. But this is a very different mother--an "anti-mother" if you will. Of course, I'm talking about the Alien Queen. It's interesting to note that this creature would appear to be created for Cameron's sequel. As conceived in the original Alien, there's no indication given whatsoever that there is such a being. In fact, given what we know now about Ridley Scott's mythos with the expansion of last year's quasi-prequel Prometheus, it seem as if the eggs on that ship weren't necessarily laid by a mother at all, but rather, genetically engineered. Given the evidence we have, it's reasonably to argue that the "Alien Queen" device was invented specifically to further drive James Cameron's maternal themes in Aliens.

The Alien Queen represents the negative side of the mother--whereas we think of mothers bringing life, this mother, in a sense, brings death. Her offspring are killing machines, and her purpose for existing is solely to destroy and to breed others to destroy. She is the poisonous, cancerous mother. Nevertheless, it's worth noting that despite her ugly traits, she still retains that primal aspect of motherhood--the desperate need to protect her young. We can palpably feel her horror when Ripley torches the eggs in her chamber.

In order to truly save Newt in the end, Ripley must protect her from this evil maternal force which also seeks to possess her. And so, one of the watershed action films of the 1980s--if not of all time--culminates in a battle of Mother vs. Mother. And finally, it is the good that triumphs, the nurturing mother driven by altruism. Ripley redeems herself and achieves catharsis. In her final scene, she has become the surrogate mother, figuratively embracing Newt in the womb-like sanctuary of hypersleep.

Yes, this maternal triumph is heart-breakingly nullified by the opening scenes of the next film, David Fincher's Alien 3, when we learn that Newt dies when her hypersleep chamber malfunctions. In my opinion, this creative decision was destructive from a storytelling point of view. However, this need not diminish Cameron's achievement in Aliens, and when taken as a film on its own, as it should be, it remains one of the most impressive accomplishments of '80s cinema. Disguised as a traditional action sci-fi flick, James Cameron gave us one of film's most enduring odes to the nurturing power of motherhood.

Monday, September 23, 2013

B-Sol here to tell you all about one very special woman whose
band will be headlining Captain Cruella’s 4th annual Village
Invasion on October 19 in Saugerties, New York. The woman is Lara Hope,
and the band is Tigeriss. Lara was on hand and tore it up last year, and
knowing her as well as we do, it’s a lock that she’ll be tearing it up
once again.

But
as if one band isn’t enough, the overachieving Ms. Hope happens to be a
member of several rockin’ ensembles. Her rockabilly band Lara Hope and
the Arktones is prepared to launch an ambitious fundraising campaign on
Indiegogo to help them record their very first full-length album—a
project they’ve been dedicating a lot of hard work to as of late. On top
of that, Lara is gearing up yet another group, the Misfits tribute band
known as the Miss-Tits (!!), to make a boobalicious debut at her very
own Rosendale Zombie Festival.

Yes,
you heard that right. In addition to her musical endeavors, Lara is
also the brains behind the Hudson Valley’s other undead extravaganza,
the Rosendale Zombie Festival, which will also be celebrating its fourth
year on Saturday, September 28! This one will be used as a fundraiser
for the Rosendale Food Pantry. Check out the official Facebook page right here!

In
addition to this, as part of the Gold Hope Duo, Ms. Hope had the
opportunity to be a part of the northeast leg of the Oddball Comedy and
Curiosity Festival, in which she opened for Dave Chappelle and Flight of
the Conchords. After Halloween, both the Gold Hope Duo and Tigeriss
will be embarking on a northeast tour along with fellow New York band
S.S. Web.

And
as if the whole music and zombies thing wasn’t enough, did I mention
that Lara Hope is an artist as well? Recently, she has begun focusing on
up-cycled, functional artwork, which includes turning cigar boxes into
mini coffins, as well as painting picture frames, mirrors and other
items. On Friday, September 13, she had her very first show opening at
the Ark Riot in Kingston, New York. Her work will continue to be on
display for the rest of the month. For more info, check out the official Facebook event page.

There’s
no doubt about it—Lara Hope is a true renaissance woman and a match for
even Captain Cruella herself in the events and arts departments. Be
sure to check out the Rosendale Zombie Festival later this month, and
then we “hope” (heh) to see you on hand to watch Lara and Tigeriss
perform at Village Invasion IV!

Saturday, September 14, 2013

It took a lot longer than usual this year--thank you, day job!--but earlier this week, I was proud to finally release the complete list of winners for the 5th annual Cyber Horror Awards! I encourage everyone to head right over to the official page of the awards to find out all the winners, as voted on by the online horror journalism community.

Since 2009, the CHAs have been the only annual horror movie awards voted on exclusively by bloggers and other online critics. It's always a blast putting them together, and always fun to recognize the best in horror cinema each year. This year was quite an interesting one! For the first time, the awards were not dominated by one big movie, but rather by two: Drew Goddard's The Cabin the Woods and Ridley Scott's Prometheus. For the most part, Scott's Alien quasi-prequel snagged prizes in the more technical areas, while Goddard's meta-horror chestnut received more of the content-driven awards--which is pretty spot-on. Also, it's worth noting that this year saw the fewest amount of films winning awards, with only four. However, they were arguably the four best horror films of 2012, which makes me happy.

We saw a tie for David Cronenberg Award for Best Director, and a winner of the Dwight Frye Award for Best Supporting Actor who received more votes than all the other nominees combined! Ti West's The Innkeepers won three awards, and two of them were the Jamie Lee Curtis Award for Best Actress and the Linnea Quigley Award for Best Supporting Actress--a testament to that movie's strong female performances.

Monday, August 12, 2013

"There aren't any more movie stars, which is terrific with me,
it's very healthy. A lot of love now occurs in the business, people
helping each other to do good work, getting high on each other's
success. Isn't that great?"

She rose to prominence as part of a new wave of "actor's actors" changing Hollywood in the late 1960s and 1970s, but would later redefine herself as what is often referred to as a "scream queen". Yet that simple term unfairly reduces the contributions she made, both to mainstream film and the horror genre, over the course of her 45-year career. Karen Black was a one of a kind, and has inspired a devoted following which was saddened to learn that she had lost her three-year battle with ampullary cancer last Thursday at the age of 74.

Born Karen Blanche Ziegler in Park Ridge, Illinois, she took her stage name from first husband Charles Black, whom she married at the tender age of 16. The marriage would last only seven years, but she would keep the name for the rest of her career. And she was advanced for her age in more ways than this, as at the time of her marriage she was already a student at Northwestern University. However, she was bitten by the acting bug early, and dropped out of college to head to New York and Lee Strasberg's world famous acting studio at age 17.

She started appearing in a number of off-Broadway roles in her late teens and early twenties, and even had her first bit part on screen in 1959 in the exploitation flick The Prime Time, at the age of 20. By 1965, she had debuted on Broadway to acclaim in the short-lived critical darling The Playroom. The following year, she got her first major screen role in the early Francis Ford Coppola film, You're a Big Boy Now.

By the latter part of the 1960s, Black had begun to establish herself amongst a new generation of young and hungry actors, born of the Stanislavsky method and eager to turn Hollywood on its ear--actors like Dennis Hopper, Jack Nicholson, Robert De Niro, Dustin Hoffman and others. It would in fact be her 1969 appearance alongside Hopper, Nicholson and Peter Fonda in the groundbreaking biker opus Easy Rider that would truly introduce her to the world as a major star.

Black turned her heads with her self-named role, and followed it up the next year with another turn co-starring with Nicholson in Five Easy Pieces. This time, she earned an Oscar nomination, and the first of two Golden Globe awards she would receive in her career. Karen Black had become one of the most buzzworthy actresses of the new decade--a decade in which she would participate in changing the face of American film.

At the apex of her career in the 1970s, Karen Black got to star in Coppola's adaptation of The Great Gatsby alongside Robert Redford; The Day of the Locust with Donald Sutherland and Burgess Meredith; and Airport 1975, in which she became the infamous "stewardess flying the plane" that would inspire the title and theme of Ron Hogan's excellent book on '70s cinema.

She would also begin to dabble in the horror genre, beginning with the horror-tinged thriller The Pyx in 1973, but starting in earnest in late 1974, when she took a major role in the TV movie Trilogy of Terror--mainly because her second husband, Robert Burton, had landed a part. The two would be divorced by the time the movie aired, but Black's sojourn into the realm of the dark and bizarre had begun. She followed it up in 1976 with starring roles in Dan Curtis' Burnt Offerings with Bette Davis, and in Family Plot, the final film of Alfred Hitchcock.

Karen Black's career would never again reach the heights it did during the 1970s. And although she once again turned heads in 1982 with an appearance in Robert Altman's Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean, by this point she had embarked on a different stage of her career--one that would wind up defining her for the next quarter century. Karen Black had become a so-called "scream queen"--yet her acting chops and legit training helped her stand out from the pack of '80s horror starlets. In truth, she was a cut above.

Her resume during the 1980s would include such movies as Tobe Hooper's Invaders from Mars remake and It's Alive III: Island of the Alive. By the 1990s, she had settled firmly into B-horror shlock territory--her films of that era include the likes of Children of the Corn: The Gathering and other obscure direct-to-video fare. It was a far cry from starring roles in Francis Ford Coppola and Robert Altman pictures, but she continued to work steadily and had found a niche for herself which endeared her to legions of fans like never before.

Black's most memorable role of the new century, and perhaps the part for which she is most known to younger horror fans, would come in 2003 thanks to horror aficionado Rob Zombie. A fan of the genre--particularly the '70s and '80s era of splatter and exploitation, Zombie had been a big fan of Black's work and decided to thrust her back into the horror mainstream along with other cult favorites in his debut picture, House of 1,000 Corpses. As the unforgettable Mother Firefly, Black was the best thing about the film, and it instantly reminded fans of just what a talent and a gift to the genre she truly was.

Nevertheless, House of 1,000 Corpses didn't quite lead to the full career resurgence fans of Black had been hoping for, and she continued to ply her trade in B cinema for the remainder of the decade, most notably in the 2011 underground horror comedy Some Guy Who Kills People.

However, by that point, Black had already been forced to curtail her career thanks to a diagnosis of ampullary cancer in 2010. Through surgery and treatment, she was able to beat it within months, but it returned aggressively last year, and on August 8, 2013, with fourth husband Stephen Eckelberry by her side, it claimed her life.

Although her career trajectory did not follow the same path as many of her compatriots from those exciting game-changing days of the late '60s and early '70s, in her own way Karen Black left a mark that will never be forgotten. She found a niche and a formula that worked, keeping her working and beloved by fans of horror and B-movies for decades.

Tuesday, August 6, 2013

Random Ramblings is back this week, and I'd like to kick it off by shouting to the rooftops how excited I am about the impending release of the long-pined-for restored version of Robin Hardy's The Wicker Man. Director Hardy had long lamented the seemingly permanent loss of 14 minutes of the film's footage due to a ridiculous studio bungle. Now that it's finally been found 40 years later, I can't wait to see Hardy's true, original vision at last.

I've spent years educated my kids on the joys of horror, but till now have kept things relatively confined to the PG/PG-13 realm. I recently broke that edict with a screening of the brilliant '70s zombie chestnut Let Sleeping Corpses Lie (a.k.a. The Living Dead at Manchester Morgue). I'm proud to report that Zombelina and Skeleton Jack (ages 11 and 9) are alive, well and untraumatized. Like Luke Skywalker, they've taken their first step into a larger world.

Is it just me, or has True Blood been improving this season? For me, the show has always seemed so erratic, going from interesting to unbearable at regular intervals. But I have to say, this season so far has captured my attention and seems to be getting back to more of what made the show so intriguing in the first place.

As you might have been able to tell by the recent vlog here in the Vault, and elsewhere in Jack's Movie Town, I'm seriously on a Pacific Rim high this summer. I've now seen the film three times, and it's successfully washed away the taste of the horrendous Man of Steel and the slightly disappointing Star Trek: Into Darkness. If you haven't seen it yet--SEE IT. Word of mouth is spreading, and it now looks like a sequel may actually happen.

Did you know that Weird Tales magazine is back in publication? Shame on you if you didn't. The classic old school horror pulp, which boasted such authors as H.P. Lovecraft and Robert E. Howard among its contributors, has been back for a little while now, and I strongly encourage you to support it. We need solid outlets for new horror short fiction, and I can think of no better home for it than the legendary Weird Tales.

I always love putting together the Cyber Horror Awards, because it gives me a chance to catch up on the best horror films of the past year that I may have missed. This time, I'm taking some time to discover Lovely Molly, Sinister and Mother's Day...

For many years, I've admired the amazing Alamo Drafthouse from afar. A theater that combines good movies with good food and drink, and also has genuine knowledge of film history and respect for the moviegoing experience? Count me in. Color me ecstatic at this month's brand new opening of an Alamo Drafthouse in Yonkers, New York, a mere 20 miles or so from me. And among their first screenings will be Stanley Kubrick's The Shining! I'll be heading down there very soon, you can count on that...

For all you supporters of my Bedlam at the Bijou series, I just wanted to let you know that our run at that venue has ended after a glorious and very fun year. However, fear not--because I'm looking to take the Bedlam brand on the road and continue the coolness at a new location in Connecticut. Stay tuned for more updates on where and when you can expect to see vintage horror double-features in the mighty B-Sol manner.

Captain Cruella's Village Invasion is returning with an amazing FOURTH annual installment in the town of Saugerties, nestled in New York's idyllic Hudson Valley. It's the Northeast's premiere zombie crawl event, and this year looks to be bigger and better than ever. Check it out at the official Village Invasion website, or stay tuned to Cruella's Crypt for more news and information!

While I'm bragging and boasting, I'd like to take this moment to give a mention to my Twitter and Instagram presences. For Vault updates and more, plus a coveted glimpse into my ever-fascinating life, feel free to follow me @B_Sol on Twitter, or @B_Sol13 on Instagram.

Thursday, August 1, 2013

It all started four years ago as a novel idea... how interesting would it be to give the horror blogosphere a platform from which to praise the best in horror movies each year? Other critic-based movie awards exist out there, so what about one for online horror journalists--who happen to be among the most opinionated, vocal critics of them all? So I came up with the Cyber Horror Awards, taking advantage of the connections I had made in the online horror world to create a system that could be used to recognize greatness in horror cinema each year.

Each year, I reach out to a select group of notables to help me select nominees in 13 different categories. Once that's done, the official ballot is emailed to scores of online horror critics (this year that number reached nearly 150), both blogger and non-blogger alike, asking them to select their choices. And then, at long last, the winners are declared over at the official home of the Cyber Horror Awards. Needless to say, this is all happening a few months later this year than I'd normally like, but hey, sometimes real life can be a bit of a nuisance.

Speaking of the official CHA website, by going there you can check out the official list of this year's nominees, highlighting some of the best and brightest the horror genre had to offer in 2012. It's quite an interesting field this time out... In previous years, a single movie usually dominated the nominees: 2008 was the year of Let the Right One In; in 2009 it was Trick 'r Treat; 2010 was dominated by Black Swan; and last year it was Attack the Block. This year, however, there are three films which are running neck-and-neck: The Woman in Black, with 10 nominations; The Cabin in the Woods, with 11 nominations; and Prometheus, with a whopping 12 out of 13 nominations (all that was missing was Best Supporting Actor... poor Idris Elba.) The Innkeepers also made a significant showing with 6 nominations.

But enough jibber-jabber. To give you a taste, our nominees for the Val Lewton Award for Best Horror Film of the Year are:

Prometheus

The Cabin in the Woods

The Woman in Black

The Innkeepers

Sinister

Head over to the Cyber Horror Awards website and check out the full list now! Ballots have been sent out, with a deadline of August 15. I expect to publish the results not long after that. And incidentally, if you're an online horror critic/blogger and you have NOT received a ballot from me, feel free to reach out to me, and we'll see what we can do to rectify that!

And now, I leave you with a handy guide to all the awards and their previous winners:

Val Lewton Award for Best Film
2011: Attack the Block
2010: Black Swan
2009: Trick 'r Treat
2008: Let the Right One In

Growing up as a Roman Catholic, The Exorcist was a film that has filled me with dread for as long as I can remember. On the sidebar of this very blog, I recount the traumatic experience of first being exposed to it at the tender age of 8. It was a film that had an aura of the forbidden, and seemed in many ways to be the literal embodiment of evil. However, over time, I've come to the conclusion that--far from the unholy terror it has often been portrayed to be--The Exorcist is actually a very pious work. In fact, I'd go so far as to call it pro-Catholic propaganda. And that's coming from someone with the utmost admiration for the film.

I've heard religious individuals condemn The Exorcist as being the work of the Devil, and of being an immoral and irresponsible movie that devout Christians should avoid at all costs. Never mind the fact that, to my knowledge, the Roman Catholic Church (nor any major religious group, for that matter) never came out openly against the film in any way. In fact, the film even had the full participation of the Jesuit order, and even lent one of their brethren, Fr. William O'Malley (a licensed exorcist) to not only consult on the film, but to even appear on camera as the character Fr. Dyer, close friend of Damien Karras.

Why would this be the case, if The Exorcist were in fact a Satanic, anti-Catholic movie? If anything, it is quite the opposite. Within the world of The Exorcist, the priests are the good guys--they are soldiers of Christ. In fact, the movie is almost medieval in its thinking, casting the scientists as misguided, ineffectual and even actively negligent in their inability to help Regan during her plight. God and the Devil are quite real here, and only the disciples of God can be of assistance. Von Sydow's Fr. Merrin knows this to be true, and calmly dismisses more secular approaches.

One can even go so far as to interpret Regan's possession as a punishment for her mother's atheism--a belief system that in the world of this film leaves her without the ability to protect her daughter in any way. Chris MacNeil must go on a journey that forces her to confront the existence of traditional spirituality--much like Fr. Karras must struggle with his own loss of faith. It is only when Karras abandons his nihilism and embraces the empathetic virtue of self-sacrifice that he is finally able to find a true solution that separates Regan and the demon (although one can argue his selflessness is not necessarily religious but simply humanist in nature.)

Those who choose to avoid The Exorcist because they consider themselves good Catholics are missing the whole point. The movie may portray things that are considered hideous and obscene sacrilege, but these are depicted solely to demonstrate the work of the Devil in all its explicit evil. The movie does not take the demon's side--if anything, it is the men of God whom we are most encouraged to root for. Regan's revolting words and actions are shown simply to make the defeat of the demon that much more satisfying. And there is nothing seen that cannot also be found in actual reports of exorcisms performed by Catholic priests. I do not believe the film glorifies these elements, but rather uses them to establish the significance of the threat.

In short, the world of The Exorcist postulates that God and the Devil exist, that radical good and evil also exist, and that Christian spirituality is better equipped to combat evil than man's 20th century secularism. In other words, it is an extremely traditional film in theme and philosophy, and not the sordid, blasphemous work its opponents have often characterized it to be. In fact, I'd go so far as to speculate that the film can be interpreted as alarmingly archaic in its traditionalism, eschewing modern humanistic developments for a very black-and-white, fire-and-brimstone Old Testament version of reality. Far from being a Satanic work, it could easily have been based on an ancient or medieval fable, intended to keep potential stray believers on the straight and narrow.

The Exorcist may make the Devil seem cool, but don't forget that in the end the Devil loses--and it's the power of Christ that compels him.

Monday, July 15, 2013

Tonight we debut a brand new feature here in The Vault of Horror, in which we will spotlight various distinguished denizens of our nightmares. For our first edition, we take a look at what is perhaps horror's most iconic monster of all...

Saturday, July 13, 2013

Direct from Jack's Movie Town, the movie review blog of my son Skeleton Jack (a.k.a. Wee-Sol), I give to you this very special video review of the film that single-handedly saved the summer of 2013 for me...

Which horror film *should* be remade?

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Welcome to the Vault....

I've been fascinated with horror ever since my parents let me watch The Exorcist at 8 years old (what were they thinking??) and I ran up to my bed screaming when Linda Blair's eyes rolled into the back of her head.Although it often gets a bad rap from "mainstream" critics and audiences alike, horror has often been the most creative and vibrant movie genre of all, from Nosferatu to Saw. Some of the finest motion pictures ever made are part of the horror genre, including Frankenstein, Psycho, The Shining and my personal all-time favorite, George Romero's Dawn of the Dead.This blog is the culmination of my 25-year love affair with all things blood and guts--so check back here often for news and opinion on the world of horror. And remember...